Thursday, May 10, 2018

Desert Daze Caravan II

Ariel Pink


Nick Hakim



6:30 p.m. doors, 8 p.m. show

$35 advance, $40 day of show

All ages welcome

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Desert Daze Caravan II

Desert Daze Caravan II

Desert Daze Caravan is back! The traveling version of what Noisey calls "America's Answer to Glastonbury" is hitting the NW and SW United States this spring with Ariel Pink, DIIV, Nick Hakim, SUUNS, JJUUJJUU and projection artists to be announced. Plan ahead, get there early, and prepare for lift off.


Ariel Pink

Ariel Pink




DIIV is the nom-de-plume of Z. Cole Smith, musical provocateur and front-man of an atmospheric and autumnally-charged new Brooklyn four-piece.

Recently inked to the uber-reliable Captured Tracks imprint, DIIV created instant vibrations in the blog-world with their impressionistic debut Sometime; finding it's way onto the esteemed pages of Pitchfork and Altered Zones a mere matter of weeks after the group's formation.

Enlisting the aid of NYC indie-scene-luminary, Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and Mr. Smith's childhood friend Andrew Bailey, DIIV craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80's Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence.

One part THC and two parts MDMA; the first offering from DIIV chemically fuses the reminiscent with the half-remembered building a musical world out of old-air and new breeze. These are songs that remind us of love in all it's earthly perfections and perversions.

A lot of DIIV's magnetism was birthed in the process Mr. Smith went through to discover these initial compositions. After returning from a US tour with Beach Fossils, Cole made a bold creative choice, settling into the window-facing corner of a painter's studio in Bushwick, sans running water, holing up to craft his music.

In this AC-less wooden room, throughout the thick of the summer, Cole surrounded himself with cassettes and LP's, the likes of Lucinda Williams, Arthur Russell, Faust, Nirvana, and Jandek; writings of N. Scott Momaday, James Welsh, Hart Crane, Marianne Moore, and James Baldwin; and dreams of aliens, affection, spirits, and the distant natural world (as he imagined it from his window facing the Morgan L train).

The resulting music is as cavernous as it is enveloping, asking you to get lost in it's tangles in an era that demands your attention be focused into 140 characters.






Nick Hakim

Nick Hakim

For singer-songwriter Nick Hakim, it all started in a house in Jamaica Plains, MA with collaborators Naima and Solo Woods. There, he put the finishing touches on his breakthrough EPs, Where Will We Go, Pt. I & II, which would later release through his Earseed Records and earn critical praise from NPR and The New York Times. But it was where the sessions for the two-part project ended and the ideas began to materialize for what would become his full-length debut, Green Twins (releasing via ATO Records in 2017), an experimental step forward with emotional heft gleaned from his experiences in the years since.

The story of Green Twins truly began when, armed with the masters for his EPs, Hakim moved from Boston to Brooklyn, spending his time fleshing out unfinished ideas in his bedroom. He came up with lyrics on the spot while playing the live circuit at solo shows including Palisades and NYXO, recording sketches and lyrics on voice memos and a four-track cassette recorder, and embracing the local community of musicians by performing with bands like Jesse and Forever and Onyx Collective. From there, Green Twins came about as a sum of its parts: Hakim took the demo recordings to studios in New York City, Philadelphia and London, and built on them with engineers including Andrew Sarlo (bass, engineering, production), keeping the original essence of the songs intact. Sarlo notes that "for other artists, a demo serves as a potential shape the song could form into. But for Nick, demos are more like creating a temple: a sanctuary that now we have to go into and somehow clean, furnish, and get ready for other people to experience the sermon in."

"I put a lot of thought to the things I'd say, but a lot of it is what I was thinking in the moment, very specific songs," he says of Green Twins, "many of them are like self-portraits". The record draws from influences spanning Robert Wyatt, Marvin Gaye and Shuggie Otis to Portishead and My Bloody Valentine. "I also felt the need to push my creativity in a different way than I had on the EPs", he continues. "We wanted to imagine what it would have sounded like if RZA had produced a Portishead album. We experimented with engineering techniques from Phil Spector and Al Green's Back Up Train, drum programming from RZA and Outkast, and were listening to a lot of The Impressions, John Lennon, Wu-Tang, Madlib, and Screaming Jay Hawkins."

"Bet She Looks Like You," recorded mostly in his home bedroom, was one of the first songs that "started this fire for exploring this experiment through song." Each track peels back a particular aspect of his life: on the title song, he gets deeply personal, reflecting on a recurring dream. "All these things reflect how I feel, how I write," he says. "I sometimes have trouble articulating myself verbally. This is a place I can talk and be myself, with music, this intangible space I create."

Hakim's debut comes as the culmination of years chiseling his skills as a musician. Hailing from Washington, D.C., he grew up in a musical household-his older brother introduced him to bands like Bad Brains and Nirvana, and his parents exposed him to Nueva canción-while he set out on his own to discover the DC music scene. He didn't take an interest in learning an instrument until later in high school, when he taught himself to play the keys. After graduation, he moved to Boston to continue his study of music. In the time since moving to Brooklyn and setting to work for three years on Green Twins, he embraced the live circuit, both as a solo musician and with his band, whom he's brought together from within his community in Boston and New York.

With Green Twins, Hakim plans to tour through the beginning of the year, and hopes that folks will connect with the songs he'd written. "I think everybody feels insecure about certain things and everybody has lost people dear to them. I think I'm writing about common things that people feel," he says. "I'm very grateful for anybody that's listening or wants to be a part of my little world that I've created through song."




"This record is definitely looser than our last one," says Suuns singer/guitarist Ben Shemie. "It's not as clinical. There's more swagger."

You can hear this freedom flowing through the 11 tracks on Felt, from Look No Further's dramatically loping, surrender-to-the-soil skeletal rock - "Our minimalist overture," notes Shemie - to the climactic bleep 'n' bliss-out of pocket symphony Materials, which finds his vocoder-treated voice floating deliriously amid cavernous inner space. It's both a continuation and rebirth, the Montreal quartet returning to beloved local facility Breakglass Studios (where they cut their first two albums with Jace Lasek of The Besnard Lakes) but this time recording themselves at their own pace, over five fertile sessions spanning several months. A simultaneous stretching out and honing in, mixed to audiophile perfection by St Vincent producer John Congleton (helmer of Suuns' previous full-length Hold/Still), who flew up especially from Dallas to deploy his award-winning skills in situ.

While maintaining a pleasing economy - the closest thing to a ‘jam' here is an otherworldly two-minute instrumental, aptly titled Moonbeams - the informality of self-production has enabled Suuns to explore bright new vistas. "It was different and exciting," declares drummer Liam O'Neill. "In the past there was a more concerted effort on my part to drum in a controlled and genre-specific way. Self-consciously approaching things stylistically. Us doing it ourselves, that process was like a very receptive, limitless workshop to just try out ideas."

Hence the hypnotic future-pop percolations of X-ALT, where guitarist Joseph Yarmush's delicate precision is engulfed by squalls of giddy saxophone. Or the way Watch You, Watch Me's organic/synthetic rush builds and and builds atop O'Neill's elevatory rhythm and the ecstatic, Harmonia-meets-Game Boy patterns unleashed by electronics mastermind Max Henry. As befits a band who cite Andy Stott and My Bloody Valentine as touchstones yet don't sound like either, Suuns have always seamlessly blended the programmed and played. Never mere fusionists, it's now pointless trying to decode their sonic signature as ‘dance music that rocks' or vice versa.

Eschewing presets, Henry devised fresh sounds for each song while also becoming a default musical director, orchestrating patches and oscillations. Quietly enthusing about "freaky post-techno" and Frank Ocean's use of space, he's among your more modest studio desk jockeys: "Yeah, I sat in the control room while the others played - hitting ‘record' and ‘stop'. It also gave me the flexibility to move parts around and play with effects. I do have a sweet tooth for pop music. So if there's a more straightforward option on the table, I tend to push for it. Of course, interesting pop music isn't always about being straightforward, so it's a good thing I don't always get my way."

Said sweetness is amplified by Ben Shemie's newfound vocal range and buoyant melodies, showcased in such wholly unexpected delights as the yearning lilt of Make It Real and sax-smoothed Peace And Love, which sincerely comes on like a post-punk Sade. There's a previously unheard confidence to the singer and lyricist, perhaps best exemplified by centre-piece Control, where his hushed tones are complemented by a bilingual voice musing on dreams and reality, sampled from an old Montreal social art project.

"The sample of that man speaking has a serendipitous story behind it. It's a bit of audio I copied from a series of interviews of people living on the streets of Montreal called The Dream Listener. It was recorded by an artist 10 years ago at the St-James Drop-In Center to raise money for the clinic and asked them to talk about their dreams. I always thought it was a compelling sample, but didn't realize until after we used it that the man in the recording was a family friend, a respected poet, whose struggled with mental illness. It makes the song the true centre piece of the album."

Suuns are proud of their roots in Canada's most socialist province, whilst not sounding quite like anything else the city has produced. "Conditions are great for musicians, but not so much if you want to be a high powered investment banker," laughs Ben. "If I could compare Montreal to anywhere I'd say it's kind of like Berlin, in the sense that there isn't a huge industry, so there isn't that much money. Plus you have to speak French if you want a career, so that stops too many people moving here. It's gentrifying at a slower rate than other cities."

Quebecois natives Shemie and Yarmush founded the group just over a decade ago, the latter having moved to Montreal from a nearby village: "Ben's from the city but I grew up in the mountains - in the forest with nothing!" The only member not to be formally schooled in jazz, guitarist Yarmush studied photography and utilized his visual training to help realize Shemie's novel concept for the eye-catching album artwork.

"I was at a barbecue last summer and there were balloons everywhere," recalls the singer. "I like this idea of pressure, resistance, and pushing against something just before it brakes. And there is something strangely subversive about a finger pushing into a balloon. It seemed to fit the vibe of the record we were making. We made plaster casts of our hands, going for a non-denominational statue vibe. Joe came up with the colour scheme, the sickly green background, and shot the whole cover in an hour."

It's a suitably outré image for Felt, which breaks with Suuns' earlier darkness for a more optimistic ambience. The record's playful atmosphere is echoed by its double meaning title. "Some people might think of the material," muses Ben. "I like that that could be misconstrued. Also it's to have felt and not to feel - a little introspective, but that feeling's in the past."




JJUUJJUU is an astral union, an arcane ritual, and above all, a conversation.
Harnessing an unspoken energy, the duo have exponentially blossomed from a sonic experiment to a forceful, telepathic dialogue of distinct-but-aligned vibrations. Releasing this dynamic on an expanding spiral of planned and impromptu live shows in the American southwest, the magnetism of the duo only continues to grow, along with its devoted, traveling coterie of entranced acolytes. - S.M. 2012



The Crystal Ballroom

1332 W. Burnside
Portland OR 97209

(503) 225-0047
Contact us

Where On Any Night, Anything Can Happen!!

In these walls...

The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

Looking for your Crystal Ballroom Passport Stamps?

Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

Tech Specs

Floor and stage plan
PDF download

Lighting diagram 
PDF download

Sound manifest
PDF download
Lola's Room: 
PDF download

Technical and logistical packet
For Crystal Ballroom & Lola's Room
PDF download

Ballroom height and beam-to-beam dimensions
16' 11" from beam to floor
19' 11" from floor to ceiling
14' 6" in between beams

Promoter Info

Rental Expenses To Outside Promoters

$365  PRODUCTION MANAGER ($54.75/hr OT)
$255  STAGE MANAGER ($38.32/hr OT)
$255  FOH TECHNICIAN ($38.32/hr OT)
$255  MONITOR ENGINEER ($38.32/hr OT)
$255  LIGHTING DIRECTOR ($38.32/hr OT)
$150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
$1,000*  SECURITY ($100/hr OT)
$100  BOX OFFICE STAFF ($20/hr OT)
$ ----  CHAIR RENTAL ($2 per chair)
$ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

* Security cost is an estimate. Additional security may be required depending on the nature of the event. 

Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $1/ticket venue fee at the Box Office.

Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

* Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

Venue and corporate sponsor banners may be present during event.

Marketing your event at the Crystal Ballroom

Please contact Mike Walker for information about marketing your event through McMenamins resources.

Box Office

Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

Box Office Information

Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

Crystal Ballroom Box Office Hours 
Daily, 11:30 a.m. to 8 p.m.
The box office is open later on nights when there is a performance.
Tickets may also be purchased in Ringlers Pub, Monday through Friday from 6 to 11 p.m., and Saturday and Sunday from 11:30 a.m. to 11 p.m.

The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

Will Call

Will call is located at the box office.


All ticket purchases are non-refundable.


There are three pay lots nearby, and street parking is available.


Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

There is an elevator located in the lobby.

Hold your Private Event at Crystal Ballroom

Weddings  Meetings  Social Events

The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

For overnight accommodations, our Crystal Hotel is just a block away!


Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!




Explore the Crystal Blocks

Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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